PRESS

Expertly vetted and with a copper-bottomed provenance, Banksy‘s spraypainted kissing policeman is not authenticated by the artist or his company Pest Control. (No surprise there.) It was sold by the Brighton publican who was able to revamp the Prince Albert with the proceeds of selling the piece of street art on its wall. The work is now owned by Geoffrey and Maureen Diner. They tell artnet News that it is on sale “to the right buyer upon application.” The gallerists, who are based in Washington, DC, have also offered to contribute a percentage of the proceeds “to a charity of the artist’s choice.” So far, it’s been radio silence from Pest Control. (Again, no surprise.) Seeing the work has left a few visitors familiar with Brighton on the south coast of England scratching their head. They thought it was still there. In fact, the one in Brighton is a replica Banksy. Protected by Plexiglass, many tourists and locals assume it’s the original.

-ARTNET, Fair management could breathe a sigh of relief when the proposed Brexit date came and went without incident, June 27, 2019

‘A painting by pop artist Roy Lichtenstein, which has not been seen in public for more than 30 years… unveiled as a highlight of London's Masterpiece art fair.

‘This cross-pollination of objects, periods and styles has been emulated by other fairs, and, importantly, it’s an approach that sees returning exhibitors keen to repeat the experience. One such example is Alan Safani’s eponymous New York antiquities gallery, which will again work in partnership with the Geoffrey Diner Gallery.'

‘At Geoffrey Diner, barrel chairs in iron and leather that might almost be Wiener Werkstätte are by the Swedish designer Mats Theselius, from 1991. They share an ornate Arts and Crafts carpet by C.F.A. Voysey with an outstanding burl coffee table by George Nakashima.’

‘One of the strongest works in this booth is in fact underfoot: a rug by English textile designer C.F.A. Voysey, working in the Arts & Crafts style. The piece depicts an elaborate floral pattern and dark-leaved bramble dyed with deep purples, blues, and greens. Following the organic motif, the gallery has also included a leather-topped writing desk designed by Gustav Stickley, of the American chapter of the Arts & Crafts movement. Atop the oak table sits a rippled green glass “turtleback” shade from Tiffany Studios New York. Finally, a wrought iron fire screen and andirons dating from 1930 are made by the renowned American blacksmith Samuel Yellin, with the straight rows of decorative pillars on the screen unfurling like little plants.’

-Blouin, 5 Best Booths at the Winter Antiques Show in New York, January 22nd, 2016

This nontraditional pairing of ancient Egyptian, Roman, and Greek antiquities alongside 20th century and contemporary design ultimately plays up the fair’s intention to encourage cross-collecting. For example, the duo’s display includes a Greek marble head of Demeter from 400 BC (priced at $550,000), paired next to the 1973 Condoid bench by George Nakashima for $110,000. Also available is and Egyptian bronze statue of Bastet, which dates back to 663-525 BC and can be purchased for $365,000. “It is our hope that visitors to Masterpiece will appreciate that great art transcends time, and that any work of art, whether it is modern or thousands of years old, has the ability to communicate beauty or emotion to those who view it,” gallerist Alan Safani said in conversation with artnet News.

‘I've become obsessed of late with depictions of rooms, and Montana-based artist Karen Kilimnik’s My Reading Desk Overlooking the Park (painted on June 25 and 26, 2002) is at the top of my wish list. It is being offered by Geoffrey Diner Gallery for $138,000. The 20-by-16-inch oil-on-canvas work depicts a scarlet-and-gold interior, apparently in a grand English or European house.’

‘Hewat-Jaboor highlights the booths that are shared between dealers in different but, he believes, complementary areas. These include New York’s Safani and Washington DC’s Geoffrey Diner galleries, who are bringing antiquities and Modern design pieces respectively...’

‘If ‘Masterpiece’s role is to help shape and create taste’, it does so by inviting world-class dealers and hoping for great and diverse works of art and stimulating juxtapositions. Art fairs are about serendipity and discovery. This year certainly sees more joint stands, or stands showing complementary material. Galerie Mathivet, for instance, displays contemporary Aboriginal art in an art deco interior, while Safani Gallery/Geoffrey Diner and Donati Arte Classica/Repetto present antiquities alongside post-war art.’

‘Some galleries, such as Safani and Geoffrey Diner are even sharing a booth, displaying ancient Greek, Roman and Egyptian artefacts alongside pieces of 20th century iconic design to create a stand that is a visual metaphor to make us think about what we make and collect, and why.’

‘Hewat-Jaboor highlights the booths that are shared between dealers in different but, he believes, complementary areas. These include New York’s Safani and Washington DC’s Geoffrey Diner galleries, who are bringing antiquities and Modern design pieces respectively...’

-Financial Times, ‘Collecting: London Art Week 2017’, June 23, 2017

‘the cross-collecting ethos of @masterpiecelondon was elegantly expressed by@dinergallery and @safanigallery on their shared stand #masterpiecefair2017’

via @masterpiecelondon

The Fair’s emphasis on cross-collecting is highlighted by a number of exhibitors, who will present carefully curated shared gallery stands. Safani Gallery Inc and Geoffrey Diner Gallery will present a mix of antiquities juxtaposed with iconic 20th century and contemporary design. Highlights on their stand include a Greek Marble Head of Demeter from 400 BC, and a free form Condoid Bench by George Nakashima, 1973.